,

Frets

Throughout history, frets have evolved from strands of sinew tied to the necks of primitively hewn instruments, to strips of bone and ivory, pieces of solid silver, brass and bronze, and now, specially compounded wire which is extruded through shaping dies into large coils, the end result of which is referred to as “Fret wire”. Fret wire is produced from a metal compound known as fret wireNickel Silver and is available in many shapes, sizes and hardness ratings. A standard formulation for Nickel Silver can include Copper, Tin, Zinc and Nickel. It is also widely used as costume jewelry metal because it looks and polishes like silver, but actually contains no silver. The two most common types of fret wire are referred to as “12% and 18% hardness / Nickel content”, although the actual hardness cannot be guaranteed due to many scientific and natural variables which come into play during the manufacturing process. Knowledgeable Luthiers understand that the choice of fret wire is a very subjective issue, and depending on the type of stringed instrument, it’s over all design, materials of construction, neck size, scale length…etc, the type, size and hardness of fret wire can affect playability and user comfort, action, intonation, and of course…tone. I maintain an inventory of many types and sizes of fret wire, and I spend a significant amount of time discussing a variety of issues with my clients, including their personal musical tastes, individual playing style and physical approach to the instrument before agreeing on a plan of action. For many players and collectors, the idea of surrendering a prized instrument for either a much needed, or a purely elective procedure raises questions, and the demand for assurances regarding the guitar’s collector value, playability, and its overall performance after the work is completed. What Do Frets Actually Do? When a string is depressed and makes contact with a fret, the length of the string changes, and it will only vibrate between that Point of Contact and the bridge. This action causes a change in the string’s pitch, raising it incrementally as the distance between each succeeding fret and the instrument’s bridge is decreased. “So…like, why are there so many different sizes and types of fret wire if they all do the same thing?” In my humble opinion….it’s purely a matter of Ergonomics, (eg) comfort combined with the ease and maximization of performance…or “playability”. Let’s face it…everyone’s different. Here’s an example : I have on many occasions set up one of my own guitars, played it for hours, blissfully gliding up and down the neck, and then handed it to another person who would play few notes and put it down, commenting on how the strings were too low and that the frets were way too big. Several of my renowned clients (No names mentioned here) play effortlessly with high action, old strings and small, worn frets, while other players can be affected by the most minute differences and changes in an instrument’s set up….especially during variations in season and climate. I’ve had more than a few guitarists get hooked on a certain type of fret wire and demand that I install it in every guitar and bass in their collection, while a few other artists vary their choice of fret wire from instrument to instrument. Last summer, I persuaded Big Bob to sell me his gorgeous Telecaster Thin Line. This axe has a chunky, round neck back profile…and is light as a feather. My original intent was to remove the vintage frets jumbo fretsand install some Dunlop 6000 Extra Jumbos, but after deciding to just change the strings and perform a set up, I was amazed at how wonderful it felt and played with the standard frets… and I really love my Dunlop jumbos !! Go figure…I’m still playin’ the hell out of that Tele with the vintage frets. Well…I guess If it ain’t broke…why fix it ?


Shake Rattle & Buzz 101

Here’s the skinny on frets and playability from a Luthier’s perspective. When a string is plucked, it responds by vibrating and undulating in sort of an elliptical manner, with the greatest amount of travel at the center point between where the string made contact with a particular fret and where it ends at the bridge. Sounds simple…right? Well…here’s where things start to get complicated. An Increase in induced energy (eg) how much force is used when the string is plucked, will cause some changes in the string’s vibratory path….the harder we pluck the string, the greater its path of movement. Maybe you’re falling asleep at this point…but let me continue. So now we’re in agreement that the amount of force, or energy that we apply to a string will influence its elliptical path and rate of travel. The string needs some space to move around, and when there isn’t enough room for that movement, the string will engage, or make contact with the surface area around it…ergo…string rattle, buzz, dead spots, muted tones and intonation issues. Guitar manufacturers in general try to avoid these problems by installing smaller frets in an effort to reduce the ratio of fret to string surface/contact area, minimize set up time, and get their product out the door.

I love my jumbo frets…they feel so comfy, they are very durable and resistant to wear, the guitar is easier to play, and it sustains so nicely….problem is, with larger frets, comes more surface area, and more potential for all those annoying issues I mentioned above, especially with the low string action that I prefer. There is no way of getting around all this unless a lot of time and patience are applied to the dressing of the frets and the final set up.